THE ART CENTER / Sharing Ideas And Tips From Artist To Artist

Sam Nielson: Painting Process

Someone asked a question about the process of painting a character, so I'll take a stab at that one. There are many processes that each have their strengths, but for the sake of learning this is what I'd suggest. This process is based around the way 3d rendering programs work, using separate passes and combining them together for the final effect. Separating the processes in this way helps you think through what needs to be done.

First of all, start with a sketch. Don't try to design a character as you paint, unless you are really advanced and probably not even then. Inked line art is fine.

Pick up the lines as a layer, and switch the layer type to multiply or Gel if you're in Painter. Turn the opacity way down so the lines aren't getting in the way of what you're doing.

These next steps can almost be done in any order. On a background layer put in flat colors, like you would if you were painting an animation cel. Keep the values fairly dark and even---even white surfaces should be a medium gray at this point. I'll usually have a color scheme in mind; in this case I used an analogous scheme (red/orange/yellow/brown)contrasted against a single "compliment" (the blue).

On a separate layer, paint the occlusion in. I'll talk more about occlusion some other time, but basically think of the cracks where the ambient light of the scene can't easily bounce into. I put a white background in so you could see it better. Don't be too heavy-handed or feel like you have to render out the entire scene this way!

Now, on a new layer, paint in a single light source. If this is a basic character rendering you probably want this lighting to be fairly neutral in color, but a simple warm/cool lighting scheme should be fine. I often start with hard edges on everything, like a cel-shaded image, and then I soften the edges where the form curves or I fade out any planes that are trending toward the terminator (I talked about this in another post). I painted in the lit areas with white but switched the layer type to "Overlay" so it would keep my colors.

Here is what the lighting layer and the occlusion layer look like when they're both visible on a blank background. See how sculptural it looks already?

Here's what those layers look like applied over the colors I painted earlier:

If you want any more lights in the scene, use a "Screen" layer, which acts as a true additive layer. And you can use other layers to tinker with the colors and texture in the scene.

Now you have a fairly good start to your painting and you're ready for the polishing phase. I'll save that part for another post though, later.

Rad Sechrist: Making a pose better

Someone asked about making a pose better. The biggest one for me is using the z axis. So many times all the parts will be straight up and down and don't go in or out. Adding a little head tilt also makes a huge difference.

Rad Sechrist: Drawing from your head

Here is another one. Someone asked about drawing from your head, or drawing people in action. I usually imagine what I will put down one piece at a time or imagine the arm in a new spot and decide if I want to move it. i can't quite imagine the entire pose clearly like some people do, but I'm working my way towards being able to do that. For quick sketch, or action poses from life, I try to remember 1 or 2 important things and make up the rest.

Rad Sechrist: Balance

So, I'll be the first to answer one of the questions. Someone asked how to keep the character balanced.

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Florian Satzinger: The Green Box

Think 3D: This is just a practical tip of mine for anyone beginning to develop or test a new character... the good thing with this method is that it is a simple but effective way to get to know your own creation better.

Apropos of nothing, I picked the colours from an ice pop ad...

Mark McDonnell: Why Keep a Sketchbook?

When looking to increase our skill sets, we are all in an eternal quest to "get better." There is some mystical notion that one day we will wake up and suddenly . . . be that artist we always thought we would become. But in reality most artists are all born the same. There are some of us that are born with a certain aptitude toward seeing a goal more clearly than others. But the notion of being "born with it" is very far fetched (in my opinion) and all too often idealized rather than a true reality.

What does set many of the great artists apart from the good ones? It is a great number of factors, perhaps environment, being exposed to the arts at a younger age, or perhaps an artistic family heritage. But in all cases of greatness the greatest certainty is that each master of his or her craft has devoted the time and energy toward that particular area the muse beacon's them towards. It's the muse that captures our attention. And once we are seduced by her tranquility, we are driven to follow the flow and grow along side the pencil lines we scrawl upon the page. One of the greatest ways to grow and become that artist we think we should be is a constant application into the things that we are driven to by the way of blood (our heart's pursuit), sweat, and tears (of joy, of course). We can do all of this by keeping a sketchbook. One of the greatest advantages to us is to explore and stretch the boundaries of our own craft in the privacy of our sketchbook(s). Keeping a sketchbook is an amazingly personal way, away from prying eyes, to sweat and strive to become better and grow on an individual level.

Sketchbooks are a symbol of freedom or a key to unlock a door previously unavailable to be opened.

MAC

Florian Satzinger: Horse Power - Inspire Your Design

Working with reference material: The horse skull's shape and details were useful references for the design of this jet bike. Even you can't see the horse skull in the final rendering, it's there.

Image: Wikimedia

Update: Here is another piece about the same subject...

Photo: Skeleton Nothosauria (via Wikimedia Commons)

David Colman:Graphic Iconic Design Style

I am a big believer in learning from your peers and especially when it comes to critiques received on their own work. Those in my class are highly encouraged to look over fellow students work and all the critiques I do. A big reason why all their work is posted on a class blog. So I figured....why not share with everyone here. The attached are some critiques done on students work for an assignment focused on graphic and iconic design style. Click on the images for a better look as I cover several ideas about design on each.

Andrew Shek: straights vs. curves in animals

Here are some very basic examples of what I think about when designing animal characters. These images look at straights vs. curves in the animal kingdom and how you can apply them to your design process.